Hey, guys, thank you. I was going with my experience from the 1960's, 70's as to the need for 400Ws. We had a high key area about 30 feet wide and used five or six units at times. Also, I am used to using a large number of light modifiers particularly blocking the light with flat panels, black on one side, white on another. All of this was balancing out the light across the scene in the studio as we had minimal ability to do so post shoot. I will sometimes shoot through a "hole", of various shapes, in order to contain the light.
My personal preference is to not use more glass in front of the lens, again probably due to the "old school" idea that the glass would all drop resolution, so we would place more diffusion in front of the lights, like putting two covers on the Elinchromes. I have used black reflectors inside of umbrellas as well to alter the shape of the "soft" light and the highlight in the eye.
So, I have a lot to learn. The D4 will go to ISO 50, so this will help if needed, although I most likely will try to shoot at 100. Once all this gets put together, I will try to give a report.
One other thing. There was something "new" in the Elinchrome D-Lite 4 it units I received. Maybe an auto power off for the transmitters, or something like that. In any case, I now have three transmitters in case one goes amiss, and I take the batteries out when storing. They really work well, except for a small synch error on the high speed sync as the curtain was cutting off about 10% of the bottom of the image at 1/250th second. I have not double checked this, but the problem corrected when I shot at 1/200th. I suspect I may have adjusted something incorrectly, or it could have been in the D200 I used for my test of the units.
More to come once I get all set up. I did order a Sekonic light meter from B & H so I can more easily set the units up. The really nice Gossen meter was about $400 and the Sekonic less than $200 so I went with the less expensive as I just wanted a starting place.